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以互文性视角审视燕梦卿形象,可突破单一作品研究的时空局限,梳理《林兰香》与前代、同时乃至后世文本的联系,为其呈现找寻历史与现实的多重文化依据:文本层面以“兰”涵射其神情气貌,以“金谷”、“缇萦”寓其节孝美德,以“萧后”鉴其才女悲剧;文化层面追溯出天人哲学统摄下兰文化的流变脉络、家国一体与男女同构的思维理念;主体层面考虑到现实背景、文化历史影响下作者创作及读者接受的知性作用。在互文性视角的观照下,这一形象融合了对封建家族女性真实命运的关怀思考,纵深层次传统文化的累积归结以及明末清初横向语境下男性文人的自我反观。
Looking at the image of Yan Mengqing from the perspective of intertextuality can break through the limitation of time and space in the study of single works and comb the relationship between the “Lin Lan-hsiang” and the previous generation, at the same time as the text of later generations, presenting a multi-cultural basis for seeking history and reality: “Blue ” embraces its look and expression, with “Golden Valley ”, “” In the main level, taking into account the changing context of Xialan culture and the concept of the same family with men and women, the author considers the realistic background and the intellectual effect accepted by the readers under the influence of cultural history. From the perspective of intertextuality, this image integrates the concern and consideration of feudal family women’s true fate, the accumulation of deep-rooted traditional culture, and the self-reflection of male literati in the late Ming and early Qing Dynasty.